Sunday, July 04, 2004

Il Cinema Ritrovato continued in its threefold grandeur. Three different programs were screening simultaneously in the main venues Arlecchino, Lumière 1 and Lumière 2. At night, there were big special screenings at Piazza Maggiore, and there was a Chaplin gala at Teatro Comunale. Because the alternatives were all very good, it was painful to realize that it was possible to see but a third of what was on offer. The parallel programming might be too good also from the viewpoint of the contributors to the highly ambitious shows?

The tribute to large formats went on with more films on CinemaScope plus a tribute to VistaVision, the format shot horizontally over the width of eight perforations, launched in 1954. VistaVision (Vertigo, The Searchers) lasted only seven years, and the output was less than a hundred films. Only two films were both shot and projected in VistaVision (Strategic Air Command, White Christmas). If last year's programming revelation was that there are hardly any genuine full-width CinemaScope prints available with good colour, this year reminded us that VistaVision was largely a dream to begin with, but good 70mm prints from VistaVision masters might do it justice.

A tribute to 70mm was launched on the Piazza Maggiore with two films. To sceptics the superb technical standards of the open-air screenings came as a surprise. Jacques Tati's Playtime really looked worth the trouble needed for the 70mm restoration in its ultra-realistic vision of a synthetic world.

Each day started again with a "breakfast serial", this year with Henri Fescourt's picaresque Mandrin, in eight parts, set during the ancient régime, with Louis XV and Voltaire among the protagonists. Mandrin was a French Robin Hood of the 18th century who challenged the establishment with his derring-do. There is an interesting cross-dressing storyline involving Mandrin's female partner Tiennot, who always dresses as a man, harbours a secret love to Mandrin, and is banished by Mandrin a soon as she dresses as a woman. Besides this little-known serial, the tribute to Fescourt (1880–1966) included his magisterial Les Misérables, still maybe the most comprehensive and best interpretation of Victor Hugo's romantic epic. There was a glimpse of his Monte-Cristo, and the fine realistic Tunisian story La Maison du Maltais.

The Gaumont Story continued with a reprise of the grand restoration of Léonce Perret's Koenigsmark. The third Gaumont house director, Jean Durand, was honored by an important book by Francis Lacassin, and a continuation to a tribute to his career in genres as diverse as the Western and the comedy.

Homages to stars are a Bologna trademark. This year, the great Dane Valdemar Psilander was celebrated with a retrospective mounted by Det Danske Filminstitut. The handsome and versatile actor was one of the world's biggest stars during his career of six years, 1911–1917, and he starred in 83 films before he died at 32. Klovnen (1917) was one of the most impressive films in the retrospective. It was interesting to compare Psilander to Ivan Mosjoukine, to whom tribute was paid to in Le Giornate del Cinema Muto last year: both handsome in the same way, well-tailored, great horsemen, the ardent look in their eyes irresistible to women, yet both able to act with subtle nuance and to create complex, even tortured characters. 27 Psilander films survive. (From the programme note byLisbeth Richter Larsen). – There was also a tribute to Alida Valli, still alive but not present in person, focusing on her formative years in the Mussolini era, before Hollywood.

The Dossiers concept, launched in Bologna last year, went on with unknown or rare discoveries from four fascinating directors. Kevin Brownlow and Patrick Stanbury presented a rich selection from the archives of Cecil B. DeMille, unique among the great directors to preserve everything. Thomas Christensen and Casper Tybjerg introduced the Carl Th. Dreyer dossier, which included his unfinished short Vandet paa landet, a sober documentary on the importance of clean water. Dossier Ingmar Bergman, introduced by Jon Wengström, included behind-the-scenes views from his films screened publicly for the first time; in the context of the newly established Ingmar Bergman Foundation more discoveries of this kind might be forthcoming. Dossier Jean Renoir was introduced by Janet Bergstrom and included three marvellous "Renoir on Renoir" TV programs from the early 1960s where Renoir speaks of his father Auguste Renoir and the almost unknown French version of his war propaganda film Salut à la France.

The Chaplin Project went on with gala screenings of City Lights and Pay Day, a Keystone selection of four restored films, two of them partially based on material from the Finnish Film Archive, and a special programme of outtakes from City Lights.

The most ambitious theme, "a festival in the festival", was A Hundred Years Ago: Cinema in 1904, curated by Mariann Lewinsky-Farinelli. Besides films, the programs included slides and musical recordings of the era. Whereas Tom Gunning last year approached the year 1903 from the viewpoint of the development of early cinema, Mariann Lewinsky-Farinelli examined cinema in 1904 from the viewpoint of public life. And where Tom Gunning emphasized the Anglo-American development,Mariann Lewinsky focused on continental Europe dominated by France. The splendid retrospective ranged from scientific films to the fantastique, even including a section of "risqué" films (innocent by today's standards). There were several beautiful restored films like the coloured Christophe Colomb by Pathé, from the AFF / CNC (Bois d'Arcy).

Not included but related was a program of early surgical films by Eugène-Louis Doyen, which showed brain surgery and operations of giant tumours. Reportedly these films were the primal shock to the film career of Georges Franju, and it is still possible to understand why. This program was like a shot of grappa in the middle of the all-week heavy gourmet menu.

A large cycle titled "Dark Treasures" was devoted to colonial films in many countries: Italy, the Netherlands, Germany, France, the British Empire, Portugal, and Belgium. This was clearly a starting-point to something big, towards major revisions in the film histories of many countries. As Nico de Clerk writes in his introduction, these films are often omitted from all national film histories, both from the film histories of the former colonial powers and the film histories of the former colonies. All in all, the films were based on thoroughly internalized official propaganda. The films are more documents of the colonial attitudes of their makers than authentic views of the life of the people in the colonies. No heart of darkness was revealed here, not even in La Traversée du Congo Belge. Many of the films are beautiful to watch and they have been restored with love.

I missed completely the sound films of Cooper & Schoedsack, Humphrey Jennings, the Weimar German Musicals cycle, and the Cinema² Directors' Cuts themes.

Among the Piazza Maggiore highlights was the new BFI restoration of E.A. Dupont's Piccadilly with a specially written jazz score by Neil Brand.

A new feature in the Festival was the DVD Prize, and some films seen in the Festival were also already available in handsome DVD editions, for example the Danish Psilander collection and Piccadilly from the BFI. Contemplating the DVD Prize archivists thought that there should also be prizes for the unsung work of film preservationists.

The festival publications – the Catalogue, the Cinegrafie volume, the huge book on Modern Times, and Francis Lacassin's Jean Durand book – are an impressive contribution to cinema studies.

Bold = a film I saw in Bologna. Some feature films evaluated **** to BOMB, some good shorts evaluated *

Playtime / Play Time (Playtime, FR/IT 1967) D: Jacques Tati. 70mm. 126’. Restaurata da Gulliver Team nel maggio 2002. Films de mon oncle. Bologna, Piazza Maggiore, 10 July 2004. Announced as 155', but there never was a version that long (the premiere had an intermission and exit music, which may be the basis for the misleading info about the duration in many general sources). This version is the definitive one. ****

Wild Is the Wind (Tuuli on raju, US 1957) D: George Cukor. Starring Anna Magnani, Anthony Quinn, Anthony Franciosa. 114’. Sott. francesi e tedeschi. Cinémathèque Suisse. Bologna, Arlecchino, 7 July 2004. Insensitive US sheep tycoon brings from Italy a new wife, who is hard to tame and refuses to be a substitute to the dead original. She is more the wild mustang than the tame sheep kind of woman. The documentary aspect, rare in Cukor, is the best asset of the film. ***

The River's Edge (not released in Finland, US 1957) D: Allan Dwan. 20th Century Fox

40 Guns (40 urhoa, US 1957) D: Samuel Fuller. 20th Century Fox

The Cobweb (Pyörteitä, US 1955) D: Vincente Minnelli. NFTVA.

My Sister Eileen (Sisareni Eileen, US 1955) D: Richard Quine. As the original Eastman colour negative was faded, the lab used a fade process to restore the colour as best as possible. The audio was restored from the original 4-tack LCRS stereo magnetic tracks. Picture restoration by laboratory Cineric, Inc. (New York). Audio restoration by Chace Productions (Burbank). Sony Columbia

Ved fængslets port / Temptations of a Great City. (DK 1911). D: August Blom. 741 m /16 fps/ 41’. Did. danesi e inglesi. Print restored in 2004 using digital 2K intermediate deriving from 35mm fine grain made in 1966 from the original negative. Det Danske Filminstitut. Bologna, Lumière 1, 3 July 2004. The morally weak son of a rich widow gets into trouble because of his debts to a moneylender whose daughter becomes his fiancée. The drama reaches its peak in the famous mirror scene where the desperate son sneaks into his mother's living room at night to steal her money. Psilander's debut at Nordisk was one of the company's best ever selling movies. (From the programme note byLisbeth Richter Larsen). Fine print.

Dødsspring til hest fra cirkuskuplen / The Great Circus Catastrophe (DK 1912) D: E. Schnedler-Sørensen. 805 m /16 fps/ 43’. Restored in 1991 from an original nitrate print. Det Danske Filmmuseum. Introduce Dan Nissen(Danske Filmmuseum). ♪Neil Brand. Bologna, Lumière 1, 3 July 2004. Economic disaster forces Count von Rosenörn to leave his estate and move to a simple hotel where he becomes acquainted with a group of circus artists. To impress the circus' leading lady and femme fatale he prepares a spectacular and daring act, which involves jumping from the circus big top onto the back of a horse. Before the performance takes place a fire breaks out in the hotel, and the count escapes with the woman who truly loves him. The film is spectacular although the lethal jump is overrated. Psilander's double Axel Mattson was seriously injured. (From the programme note by Lisbeth Richter Larsen).

Dødsangstens maske-spil / Fire at Sea. Et drama paa havet (DK 1912) D: E. Schnedler-Sørensen. 654 m /16 fps/ 27’. Cut positive print from the original negative made in 1957. Det Danske Filminstitut. ♪Donald Sosin. Bologna, Lumière 1, 4 July 2004. Two endings screened: the regular happy end, and the unhappy Russian ending. Might this drama about a shipwreck be one of those inspired by Titanic? The musicians are calming down the passengers as the ship is burning. Strong scenes.

En fare for samfundet / Love the Conqueror (DK 1918). PC: Nordisk. D: Robert Dinesen. Starring Valdemar Psilander. 1238 m /16 fps/ 68’. Det Danske Filminstitut. Cut positive print from a negative made in 1957. ♪Antonio Coppola. A medical professor suffers a nervous breakdown following a traumatic accident and the loss of his beloved wife. Insanity takes hold of him and as he becomes a threat to others he is sent to a rest home. Even his psychiatrist, Prof. Jung (!) does not succeed in curing him, but in the end he is saved by the girl who loves him. Spectacular fire scenes. (From the programme notes of Lisbeth Richter Larssen).

Klovnen (DK 1917). PC: Nordisk. D: A.W. Sandberg. Starring Valdemar Psilander. 1325 m /16 fps/ 73’.♪Antonio Coppola. Cut positive print from the negative made in 1975. Bologna, Lumière 1, 10 July 2004. The story of the happy Auguste who turns into a broken-hearted man was remade in 1925 with Gösta Ekman. Psilander's final success can be compared with Mosjoukine's Kean as an artist's tragic testament. ***

Kif Tebbi / Kif Tebby / Kiff Tebby (Sheikin poika, IT 1928). D: Mario Camerini. 2882 m /22 fps/ 115’. Restored at L'Immagine Ritrovata as a collaboration between Il Cineteca Bologna and Nederlands Filmmuseum. Introduce Davide Pozzi (Cineteca di Bologna). ♪Alain Baents. Noticed at the time as "the film that marks the resurrection of the Italian silent film" and later as "the first significant example of fascist 'colonial' cinema" (Paolo Cherchi Usai) and in fact also in its day also mentioned as an example on the subject of the "imminent birth of a cinema capable of supporting colonial literature" (Gian Piero Brunetta). (From the programme note of Chelu Deiana).

Acção colonizadora dos portugueses / Portuguese Actions in the Colonies (PG 1932) D: António Antunes da Mata. 392 m /18 fps/ 14’. Restored in 1993 by Cinemateca Portuguesa. Bologna, Lumière 1, 8 July 2004. The images shot in 1929 were probably included in the documentary feature Angola (1931, lost). The film illustrates the benefits of scientific colonization and shared development by showing the health and sanitary conditions available to both the Portuguese settlers and the indigenous population. (From the programme note of Joana Pimentel).

Costumes primitivos dos indigenas de Moçambique / Primitive Customs among the Natives of Mozambique (PG 1929) D: Brigada Cinematográfica portuguesa. 264 m /20 fps/ 12’. Restored in 1985 by Cinemateca Portuguesa. Bologna, Lumière 1, 8 July 2004. The earliest ethnographic film in the colonial collection of Cinemateca Portuguesa. The author won a Gold Medal in the International Colonial Fair in Paris 1931. It shows the everyday life, work and festivities in severial regions of Mozambique. (From the programme note of Joana Pimentel).

Guiné – aldeia indígena em Lisboa / Guinea – A Native Village in Lisbon (PG 1932) Pro-Agência-Geral das Colónias. 222 m /16 fps/ 8’. Restored in 1984 by Cinemateca Portuguesa. Bologna, Lumière 1, 8 July 2004. The idea of resettling an African village inside an Industrial Fair came in the wake of the success of the colonial fairs of the late twenties. For the commissioners of the event, nothing could be more exotic than the people of Guinea. This small Portuguese colony in Africa was not very familiar on account of its long-term resistance to colonial rule, but it was interesting because of the extraordinary number of ethnic groups present in such a small area. (From the programme note of Joana Pimentel).

1ª companhia de infanteria indígena de Angola em Lisboa / Angola's First Native Infantry Company in Lisbon (PG 1933). ProAgência Geral das Colónias. 246 m /18 fps/ 12’. Restored in 1999 by ANIM / Cinemateca Portuguesa - Museo do Cinema. Bologna, Lumière 1, 8 July 2004. Two years before this event, the First Angolan Native Infantry Company had acted as the guard of honour at the Portuguese pavilion in the Paris International Colonial Fair. Their exotic and martial appearance delighted the Portuguese press to such an extent that they became a major attraction. (From the programme note of Joana Pimentel).

Gentes que nós civilizámos / People We Have Brought Civilization To (PG 1944) D: António Lopes Ribeiro. 18’. Restored in 1992 by Cinemateca Portuguesa. By the time this film was released the Portuguesa government was about to create an official agency to substitute the Portuguese Geographical Society. These activities consisted also of surveys of natural resources in the colonies. This film shows how official policy took over and redefined the colonial issue and the major role played by the Church in the social work carried out amongst the natives. (From the programme note of Joana Pimentel).

Guiné, berço do império 1446-1946 / Guinea – The Birth of the Empire 1446–1946 (PG 1946) D: António Lopes Ribeiro. 18’. Restored in 1992 by Cinemateca Portuguesa. This documentary coincided with the first state visit of a Portuguesa president to West Portuguese Africa. After the war, the films were reused as internal colonial propaganda. This one, probably a condensed version of Guiné Portuguesa (1941), had its title changed to suit the commemoration of the 500th anniversary of Portuguese settlement in Guinea-Bissau. (From the programme note of Joana Pimentel).

Accident Reel. A selection of mishaps from his early films assembled by Cecil B. DeMille for private screenings. Perhaps the earliest set of bloopers in existence. Featuring Fanny Ward, Gloria Swanson et al in: Carmen, The Golden Chance, The Woman God Forgot, Joan the Woman, Male and Female, The Grim Game, and Feet of Clay.

Filming Male and Female (US 1919). A sequence from the series Stars as They Are showing CBDM directing Gloria Swanson and Thomas Meighan.

Mercury Aviation. CBDM founded one of the first passenger airlines in the US. We see him in the air over LA. Includes a stunt by Irvin Willat for his Houdini drama The Grim Game (1919).

1920s Production Footage. DeMille regularly filmed his units at work. This sequence includes the shooting of scenes on a trestle bridge for Saturday Night (1922, with Agnes Ayres) and Library of Congressation footage at Catalina for Feet of Clay (1924). Why Change Your Wife. Bebe Daniels in Fools' Paradise.

Intro David Pierce (NFTVA), Eric Lange (Lobster Films) e Gian Luca Farinelli (Cineteca di Bologna) ♪Neil Brand – Jurassic Chaplin where he is justa a shallow guy driven by the basic instinct. I'm puzzled by the quality of the prints, and I think I have seen better ones of some of them. There are many Chaplin Keystone prints, but almost all are cropped for sound re-release.

Dødsjockeyen / Il jockey della morte (IT 1915) D: Alfred Lind. 1180 m /18 fps/ 58’. Did. francesi e olandesi. Cinémathèque Royale de Belgique, restored in 2004. ♪Alain Baents. Bologna, Lumière 1, 3 July 2004. Distributed in Belgium by Les Films Charles Hendrickx in travelling cinemas up to the fifties. The print was in deplorable shape. None of this detracts from the considerable poetic power of the film, which is full of images that border on surrealism. The audacity of the photography and the light effects are striking, too. The action of this Italian film, shot by a Dane, is set in France. (From the program note of Jean-Marie Buchet). – Stylish tint and toning.

A Million Bid (Kun meri antoi omansa takaisin, US 1927). PC: Warner Bros. D: Michael Curtiz. DP: Hal Mohr. Starring Dolores Costello, Warner Oland, William Demarest. 1925 m /16 fps/ 106’. Did. italiane. Restored 2004 at L'Immagine Ritrovata for Library of Congress from the short Italian version. Introduce Patrick Loughney, Library of Congress. ♪Donald Sosin. Bologna, Lumière 1, 3 July 2004. Michael Curtiz has a sure professional touch in his second American film. Dolores Costello, the silent star now most famous for The Magnificent Ambersons, is the woman forced to marry Warner Oland for money. In a shipwreck Oland is thought to have died, but he returns as a man who has lost his memory. The cinematography is a beautiful example of high late silent cinema: fluid camerawork by Hal Mohr. Charming sepia hue in the restored print. **

Visita incrociatore italiano a San Francisco (US 1921). D: Frank Capra. 658 m /18 fps/ 32’. Did. italiane. AFI / Cineteca di Bologna. ♪Gabriel Thibaudeau. This film, shot betweeen 6–29 November 1921, does not appear in Capra's official filmographies. It shows the Italian battle cruiser Libia visiting the port of San Francisco. The Italian sailors are welcomed to the Golden Gate by the Italia Virtus Club. Capra himself with his camera is seen on the jetty waiting for the boat to arrive. (From the programme note by Elena Tammaccaro).

Eugène-Louis Doyen (1859–1916), one of the most famous surgeons of the turn of the century, was among the first to use the cinema. 1897–1906 he shot sixty of his operations. After his death, nearly all of his collection was lost. Only five films of 60 have been found. In 2002, Cinemateca Portuguesa restored two of the three thematic anthologies Doyen prepared for Eclipse. They seem complete and have original French and Spanish intertitles, in all likelihood written under Doyen's direction. The discovery of these films is a veritable event not only for the history of scientific cinema but also for the history of medicine and the evolution of surgical techniques. Five Portuguese doctors financed the restoration. (From the programme note by Tiego Baptista). – A lucid record of the hard work of the surgeons. Three doctors tear massive tumours from throats and thighs with their bare hands, and perform rapid brain surgery after having worked very hard to open the skull with drills and saws. – The impact of these films is comparable to the splatter line of the horror film, only they are stronger and purer. – These films are reminders about the fragility of life and the extreme responsibility of the surgeon. – Only long takes and plans américains with a fixed camera.

Momenti principali di un'isterectomia addominale – intervento chirurgico del prof L. Sussi(IT) 43 m /20 fps/ 2’. Featuring Luigi Sussi. Bologna, Lumière 1, 8 July 2004. The restoration was carried out for the Associazione Kinoatelje di Gorizia, which made available the original nitrate positive. The work was carried out with the contribution of the Fondazione Cassa di Risparmio di Gorizia at La camera ottica restoration laboratory of the DAMS degree course (Udine University) and L'Immagine Ritrovata (Bologna) 2004. La camera ottica. Luigi Sussi (*1894), a surgeon of the Viennese school who contributed innovations to surgery techniques in the thirties, was one of the most prominent public figures in Gorizia. (From the programme note by Simone Venturini). Short takes and close-ups.

Torna a Napoli (not released in Finland, IT 1948), D: Domenico Gambino, starring Nino Manfredi, Maria D'Ayala, Carlo Lombardi. Francesco, a young American soldier, falls in love with an Italian girl, Lucia, during a journey in Italy. Because of some old problems between the families of the two lovers, a marriage between them is absolutely out of the question. After a series of misunderstandings, some of them dramatic, Francesco and Lucia's fathers reconcile and bless their son and daughter's love. – Homage to Nino Manfredi, his first starring role, one of only two surviving prints of the film. Cineteca di Bologna, Ripley's Film.

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About Me

Antti Alanen (born 1955) is Film Programmer at National Audiovisual Institute (Finland), which runs the Cinema Orion in Helsinki. This diary is an irregular notebook and scrapbook of rough notes on films and related matters.

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